If It Ain't Got That Swing! 05•17•2026
Program Notes
Inspired by one of Duke Ellington’s most famous songs, It Don’t Mean a Thing (If It Ain’t Got That Swing), this afternoon’s concert explores the sound and spirit of jazz through the decades. This phrase quickly became a kind of motto for jazz musicians, capturing a simple but essential idea: the music depends on its sense of groove. Without that lift and forward motion—what musicians call “swing”—the notes alone are not enough.
From its roots in African American communities, jazz developed into one of America’s most influential art forms, shaping popular music and the concert stage alike. The music on today’s program reflects that range, from big band classics to works that draw on jazz traditions in new ways, each shaped by the same sense of groove and motion you can hear and feel.
We are also pleased to feature Ella Kahnert, horn player and winner of the 2026 Earl C. Benson Concerto Competition.
Big Band Bash | arr. Bob Lowden
Artistry In Rhythm, Tuxedo Junction, Moonlight Serenade, Take the “A” Train, One O’clock Jump
Arranger Bob Lowden brings together five well-known titles in Big Band Bash, a salute to the large jazz ensembles that dominated American popular music during the Swing Era of the 1930s and 1940s. “Swing” refers both to a rhythmic feel and to the period when dance bands became a national craze through live performance, radio, and recordings.
A big band typically featured sections of saxophones, trumpets, trombones, and rhythm instruments, combining the spontaneity of jazz with the power of a larger ensemble. Many composers of the time were also bandleaders, writing for their own groups. The selections here are closely linked with the orchestras of Glenn Miller, Duke Ellington, and Count Basie, capturing a defining chapter in American music history.
Tribute to the Count | Count Basie (arr. Sammy Nestico)
April in Paris, Li’l Darlin’, Shiny Stockings
William James Basie (1904–1984), known as “Count,” was one of the most important bandleaders of the swing era. He began his career as a pianist, developing a style built on simple, well-placed notes and a strong sense of timing. After forming his own orchestra in the 1930s, Basie became known for a sound that was both powerful and relaxed, driven by a steady rhythm section and shaped by standout soloists. His band helped define swing, combining tight ensemble playing with space for individual expression.
In Tribute to the Count, arranger Sammy Nestico draws from three well-known Basie recordings that show the range of his orchestra. Li’l Darlin’ reflects the smooth, unhurried style for which his band was admired. Shiny Stockings shows the polished swing sound that kept Basie popular with new audiences in the 1950s. April in Paris became one of his most recognized international hits. Together, they show why Basie’s music remained fresh and influential across changing decades of jazz.
Morceau de Concert, Op. 94 | Camille Saint-Saëns (arr. Douglas A. Nelson)
Camille Saint-Saëns (1835–1921) was one of France’s most prominent composers of the late nineteenth century, known for his ability to write music that is both clear and easy to follow. A child prodigy, he performed as a pianist from a young age and later became one of the leading organists in Paris. Throughout his long career, he remained active as a performer, teacher, and composer.
Written in 1880, Morceau de Concert remains one of the most respected solo works associated with the horn. The piece opens with a smooth melody and gradually builds in energy. The soloist moves between long, singing lines and quicker, more demanding passages that show both control and flexibility. Changes in mood keep the music moving and give the performer a chance to show a wide range of expression.
Ella Kahnert, French Horn Soloist
2026 Winner of the Earl C. Benson Concerto Competition
– Intermission –
Metroplex: Three Postcards from Manhattan | Robert Sheldon
Robert Sheldon (b. 1954) has spent much of his career as a music educator, teaching instrumental music for 28 years at public schools and universities in both Illinois and Florida. He holds degrees from the University of Miami and the University of Florida, and in his current role as Concert Band Editor for Alfred Music Publishing, he is active as a conductor and composer.
Sheldon wrote Metroplex – Three Postcards from Manhattan in 2006 as a commission from the Normal Community West High School Band in Normal, Illinois. The piece has been described as “a musical portrait of Manhattan’s cityscape,” unfolding in a series of vivid scenes. It opens with a view of the New York skyline, then moves through a bustling taxi ride in crowded city streets, and closes with a final glimpse of the skyline as the journey ends.
At the center of the work, the music shifts to a Harlem jazz club, where the style becomes more relaxed and groove-based. Solo lines and swing-influenced rhythms suggest the sound of a jazz ensemble, creating a clear connection to the traditions heard throughout this program.
Come Sunday | Duke Ellington (arr. Paul Murtha)
Duke Ellington (1899–1974) was one of the most important figures in jazz, known as a composer, pianist, and bandleader. Over a career that spanned more than 50 years, he shaped the sound of big band music by writing for the unique strengths of his players, creating a sound that was closely identified with his orchestra. His music ranges from energetic swing to deeply personal works that reflect faith, history, and everyday life.
He composed Come Sunday in 1943 as part of Black, Brown, and Beige, a larger work portraying the African-American experience. This movement represents a moment of worship and reflection, inspired by Sunday morning church services. Later given lyrics, the piece became a regular feature of Ellington’s sacred concerts. This arrangement highlights its expressive character, with the solo alto saxophone carrying the main voice.
Tim Kraft, Alto Saxophone Soloist
Unidad en Ritmo – An Afro-Latin Tribute to Cultural Unity | Michele Fernandez
Michele Fernandez is a Cuban-American musician, educator, and conductor based in Florida. She has been an active leader in the band community, working as a public school band director and with community ensembles. Her compositions draw on Latin and Afro-Caribbean traditions, bringing these sounds to the concert band in a way that feels natural and authentic.
Unidad en Ritmo, meaning “Unity in Rhythm,” was written in 2023 for the Greater Miami Symphonic Band. The piece is built on layered percussion and driving rhythmic patterns that create a constant sense of motion. Drawing on styles such as salsa and mambo, Fernandez highlights the shared musical roots that connect these traditions to jazz. Like a jazz ensemble, the music depends on each part contributing to a unified groove, where rhythm becomes the common language that brings everything together.
The Symphonic Gershwin | George Gershwin (arr. Warren Barker)
An American In Paris, Cuban Overture, Rhapsody in Blue
George Gershwin (1898–1937) was one of the first American composers to successfully bring jazz into the concert hall. He began his career writing popular songs and Broadway musicals, quickly gaining a reputation for catchy tunes and a strong sense of rhythm. At the same time, he was interested in larger forms and studied classical composition, working to combine the energy of jazz with the structure of symphonic music.
In The Symphonic Gershwin, Warren Barker brings together themes from three of Gershwin’s most celebrated works. Each reflects his gift for memorable melody and his interest in city life, dance rhythms, and jazz-influenced harmony. By blending popular and classical styles, Gershwin helped shape a distinctly American concert sound that remains widely loved today.
Program notes by Sue Hinton
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